Review of Flute intensive faculty recital and 2017-18 Syllabus

This lovely concert review (from the 15 July faculty concert at UVFI) was recently brought to my attention: http://www.islandnet.com/miv/reviews/r2017-07-15-dgrb.html

For those of you keeners wanting to get a jump on reading summaries 🙂 or if you’re just curious about what is coming up, here is the Flute Syllabus for 2017-18:

Flute Lesson Syllabus 201718 

MUS 1-2-3-4 40; MUS 245, 345, 445, 545  

Instructor: Dr. Suzanne Snizek

email: ssnizek@uvic.ca

Welcome to the Uvic Flute Studio! I am looking forward to working with each one of you. I will be your flute instructor and mentor during your time here at Uvic. Please do not hesitate to ask for guidance. I am at school nearly every weekday and can meet with you by appointment or during my office hours, which are posted outside my office door (my teaching schedule changes from term to term). If these times conflict with your class schedule, we can arrange another time if needed; just ask!

Process Firstly, you will need to sign up for a ensemble placement audition. Sign up sheets will be posted on the ensemble bulletin board located at the base of the stairs. This audition will take place during the first week of classes (usually the first Thursday) and will help to place all students in their large (Wind Symphony, Concert Band, Choir or Orchestra) and small chamber ensembles. Audition materials are posted on the school website.

Secondly, please also sign up for a private lesson time for first term. This sign up sheet will be posted on my office door by the first week of classes. You may need to choose a new lesson slot for second term during the first week of that term. Occasionally the lesson schedule will fluctuate to accommodate my own travel and performance schedule. My staying active as a performer helps me to help you! Thank you, in advance, for your flexibility.

Lessons are 50 minutes in length. All students are expected to be punctual, ‘warmed up’ and fully prepared for each lesson. Please be sure to bring a notebook and pencil to each lesson.

 Attendance policy

  1. Lessons cancelled because of a documented illness (i.e., those with a doctor’s note) will be rescheduled at a mutually convenient time.
  2. Any unexcused missed lesson will not be made up.
  3. If you know in advance that you need to reschedule a lesson (for any reason), please arrange this directly with another willing student, and then inform me, in an email to ssnizek@uvic.ca, of the change in advance. If you have to miss a lesson because of illness, please email me, with as much advance notice as possible, at the above address. Generally, I require 24 hrs. advance notice in order to reschedule a lesson.

Master Class typically meets weekly, on Wednesdays at 1:30. Occasionally we will have masterclass at other times when visiting guest artists join us (these dates are all set well in advance; if you have an unavoidable class schedule conflict, please inform me in advance). Please mark your calendars now! We are very fortunate to have several guests coming this year, including Dr. Cheramy from Memorial University 18 November, Traverso artist Teddie Hwang from Taiwan/Germany 3 March, and Sarah Hahn, principal flutist in the Calgary Philharmonic 20 April. Master classes are essential to your development as a flutist. All flute students are expected to attend all master classes. Participation, attitude, attentiveness and preparedness will be the determining factors in the assessment of your participation in master class. Specific repertoire and themes change every term; specifics on this coming year will be detailed in a separate document.

Jury There is a juried performance of 15 minutes duration for all performance majors and 10 minutes for all other majors. There may be sight reading as part of the jury for performance majors. A jury exam performance missed for any reason (other than a genuine and unavoidable emergency) cannot be rescheduled.

 Private lesson mark will be determined as follows:

One third of mark:

  1. Weekly private lesson (including assigned readings/summaries) AND
  2. Weekly master class

This part of your mark assesses your degree of musical preparedness, as well as your attitude, attendance and punctuality (for performance majors this includes IPS attendance and participation).

 One third of mark:

  1. Quality of your performances (Tuesday and Friday noon hours, annual Studio recital and for performance majors, your IPS performances) AND
  2. A technical exam (administered in second term, in second lesson in January). All undergraduate students will be assessed in a technical exam this year. Fluency, accuracy, tonal homogeneity and speed will be assessed. Details TBA in a separate document.

 One third of mark: Jury or graduating recital

For all students: In every category listed above, a student’s attitude towards learning, consistency of effort, (weekly preparation), openness to trying new approaches/concepts, and evidence of improvement and effort are extremely important factors in your overall mark.

For performance majors: IPS is a requirement for all Performance Majors. IPS Grading is based on attendance and participation in the seminar as indicated by IPS attendance sheets and performance notes completed by IPS faculty.

 Readings and summaries Four very short written reflections (about 300-400 words) on required readings will be required as part of this course. You may read your assigned readings in any order that works best for you. The first is due by 30 September; the second by 1 December, the third by 25 January and the last by 1 April. To save paper, please submit your summary by email in a word doc attachment. Please note that late assignments will not be accepted. This assignment is intended to heighten your awareness of the context of performing and to expand your thinking about various larger issues in performance. I would like each student to directly apply the practical information contained in these texts to their own playing. To that end, I would like the written assignments to focus on what was personally most useful to you as a player and how you actually applied the information in your practice and/or performance experiences. Please include in your summaries three specific examples of how you have applied information, sourced directly from the text, to your own practice as a musician.

Readings for 2017-18 are listed below. I encourage you to purchase these items for your own library. If you have already read one of the suggested readings for your year, simply choose another from another year that especially interests you.

For first year students:

  1. The Inner Game of Music by Barry Green or The Mastery of Music: Ten Pathways to True Artistry by Barry Green
  2. The Art of Wind Playing by Arthur Weisburg
  3. Playing (Less) Hurt by Janet Horvath
  4. Body Mapping for flutists by Lea Parsons

For second year students:

  1. The Creativity Habit by Twyla Tharp
  2. The Proper Flutist by Trevor Wye or Music and the Flute by Thomas Nyfenger
  3. Casals and the Art of Interpretation by David Blum
  4. Mastering Creative Anxiety by Eric Maisel

For third year students:

  1. Kincaidiana by John Krell
  2. The Notation is Not the Music by Barthold Kuijken
  3. Making your Creative Mark: Nine Keys to Achieving your Artistic Goals by Eric Maisel
  4. The Early Flute by Rachel Brown

 For fourth year students:

  1. Body Mapping for flutists by Lea Parsons; or Vocal Wisdom by Lamperti (this one suggested by Lorna MCGhee)
  2. Arrau on Music Performance by Joseph Horowitz
  3. The Proper Flutist by Trevor Wye or Flute by James Galway
  4. On the Art of Playing the Flute by Quantz

For graduate students:

Please choose four NEW selections from any of the above.

 Practice I suggest daily practice be proportioned as follows:

25% tone

25% technique

25% etude/s

25% repertoire

Even (especially!) when you are in the midst of preparing recitals this is an excellent way to practice. Attending concerts, performing, listening to recordings, reading relevant texts and physical exercise/stretching (yoga is excellent, as is swimming!) are important activities. These should constitute a regular part of your ‘out of the practice room’ practice. All flute students are expected to attend their professor’s and fellow flutist’s solo recitals.

Materials I will be making individually tailored recommendations for all students. Students will be expected to purchase music as determined by the instructor. Every undergraduate will prepare a weekly etude, in addition to technical work and repertoire. Graduate students will, in addition, generally be expected to complete works more quickly. We will strive to cover all genres (early music, classical, Romantic/French salon, 20th C and beyond!) and fill in any gaps in repertoire. If a student has a very strong background in one area, there will be greater emphasis given to the others. Piccolo, Alto and Bass study are all encouraged as well.

Studio policy

  1. I do not photocopy any music or lend any music (parts, scores or recordings) from my personal library to students. As with any academic course, all students are required to secure their own materials. If financially necessary, you may instead borrow available materials from the Macpherson library. We have a fairly comprehensive existing collection. I can also request the library purchase new items if they do not happen to have an item we need. However, it is important to develop your own music library.
  2. Performances represent the work we do together in the studio, as well as your own individual practice. Therefore, when I feel a work is ready to be performed, I will suggest a concert venue to you (usually, Tuesday and Friday music concerts). This will happen after I have first heard the material successfully and confidently presented in a polished manner in the studio, and as it is to be presented publicly (i.e., in its entirety and with necessary collaborative musicians). Performance permission slips will not be signed in anticipation of a student’s later work. Please plan ahead.
  3. Please check with me before scheduling your degree required solo recitals. Please note that according to current wind section requirements, all graduating recitals need to be presented before 15 March.

I am looking forward to a very productive and enjoyable ‘musical journey’ with all of you! Please join me in extending a warm welcome to our new students!

Please see below info for undergraduate marking at UVic:

http://web.uvic.ca/calendar2016-01/undergrad/info/regulations/grading.html

Please see below link for information regarding graduate marking at UVIc:

http://web.uvic.ca/calendar2016-01/grad/academic-regulations/grading.html

Please consult below link for UVic academic policies:

http://web.uvic.ca/calendar2016-01/undergrad/info/regulations/academic-integrity.html

For UVic’s attendance policy please see the following link:

http://web.uvic.ca/calendar2016-09/undergrad/info/regulations/attendance.html

 

For information on academic supports available to all Uvic students: http://www.uvic.ca/current-students/home/academics/strategies-support/index.php

For students with disabilities: I strive to support every student’s efforts in the studio to the fullest extent possible. Any students with documented disabilities (i.e., students who are registered with the Uvic Resource Centre for Students with Disabilities) will be accomodated according to Uvic academic policy. Please refer to the following link for more information: http://www.uvic.ca/services/rcsd/

Please see below link for (free!) counselling support available to all Uvic students:

http://www.uvic.ca/services/counselling/

Please see below link for wellness and safety information:

http://www.uvic.ca/current-students/home/wellness-safety/index.php